The Baroque Period - Essay Example

The Baroque Period The Baroque Period On the outside most often described asornate, even gaudy at times, the Baroque Period is much more complex a period than its outward appearance belies. On one had it was an era of artistic expression and awakening in all branches of the arts, but it was also, deep within its fiber, intrinsically entwined with the power of the Church. The influence the Catholic Church had on leading of the direction of the arts to further its goals was noteworthy and as it grew in power this became more apparent in every aspect of life during the era. Once its power was established and "once in place, the minions of the church instructed the masses not only through the pulpit and missionary work, but through the media of public display, such as art, architecture and popular theatre. They also engaged them through the frequent observance of religious holidays and pilgrimages. Behind the robust display of pietas austriaca stood the conceit that the dynasty and its policies had been specially ordained by divine Providence." (Ingrao, 2002, 30) Throughout examining the various forms of art during the Baroque Period the power and influence of the church was unquestionably one of the driving forces of the era and influenced every aspect of life will be shown. The Baroque Era of Music is traditionally considered the period of time between 1580 and 1760. As with other art forms of the period, the Baroque Era of music is noted for its ornate qualities. One of the most notable music forms coming out of this period was the Opera. Although there were variations of the Opera throughout Europe, including Italy, Germany, England and France, during the Baroque Period, they all contained several interlocking threads: the ornate set designs, beautiful melodies and professional presentation. The opera was originally designed as a form of entertainment for the court and as such usually spared no expense in their set design and elaborate costumes. Operas of this time period used "different approaches to singing and embellishment (even bowing) and freer attitudes toward improvisation. (Giles, 1999, 42). One of the main focuses in Baroque style music was the expressiveness of the era itself was expressed so beautiful in the music of this time period - bold, articulate and free flowing. "There are people -- actors, preachers, and public speakers, singers -- called upon to use their voices in public spaces with bigger or smaller voices. And these Baroque composers, Handel for example, understood the human voice probably like nobody before or after." (Giles, 1999, 43). By far the Baroque Era can be summed up musically, as with the era itself, grand. It was larger that life. The elaborate spectacles were designed to entrain while vocalizing with flare and flash the grandeur of the period. Thought provoking always; it was reaching out and questioning with a style and grandeur that can only be termed is Baroque. This style of music and its very nature, like the development of counterpoint itself during this era was a period of exploration and growth with heavy influences of the church the music was almost a release from any societal conceived limitations. It was freedom of expression beautiful performed with the flourish and bold visual impact, intricate musical embellishment and theatrical dramatization. This age of conceptualizing and wondering had respect for the past but also an eye on the future. This was expressed also through the literary works focusing on one of the artistic masters of the time period, Michelangelo Merisi da Caravaggio. Using the inquisitive, questions style typified by many of the writers of the Baroque period Pino Di Silvestro, the author, beautifully rediscovers the literary flair of the time period. Like the renewed emergence of the importance of the church as an entity during this time period literature and art marked "a similar subversion of the status quo is to be found in those of Caravaggio's works whose realism was in many cases perceived as deeply controversial. (Rorato, 2005, 132) This period in history was marked with a tinge of cruelty underlying the faade of ornateness found in the building, music and art of the time period. There was almost like the musical counterpoint perfected by Bach at the time two different equally lives occurring at the same time, both playing against each other and inter-weaving between the two sides of life and always surprising. The Baroque period was known for its intolerance in some respects and that was shown through it accepted cruelty. Many of the literary works of the time period "acted as a mirror for a very violent and tormented age where public executions were common spectacles and speaking freely could have very serious consequences." (Rorato, 2005, 133) Yet, at the same time the period espoused very strong religious ties exhibited by the rising power and control of the Catholic Church. In 1599, half of Europe was Protestant; by 1650, only 20 percent Was." (Kimball, 2005, 50) Many of the art forms of the period catered to this: music, art, and literature. The church recognized their influence upon the arts and capitalized on it which yielded some of the most ornate, bold religious art known. Included among them is Flemish Artist Peter Ruebens. "Rubens's talent as a diplomat was already almost as highly prized as his artistic skill. A master of ingratiation, he often expended more time negotiating international treaties than painting. He was as at home among kings and princes and ambassadors as he was among artists." (Kimball, 2005, 50) This was reflected as well in artwork. He was able to blend extraordinary elegance in his artwork with perfect balance between rich bold coloring and symmetry and balance. This reflected as well the culture of the time on the one had the piety associated with the growing religious reformation but also the elegance and grandeur of the expressed in both his frequently chosen subjects of voluptuous females and his mastery of the use of bold colors. As Figure 1 at the back of this paper I have included a copy of a sketch done by Rubens of one of his children. It displays beautiful his mastery of art and displays the perfect symmetry with which he was able to capture the essence of his subjects. During the Baroque Period women, especially women within the court and the empresses were expected to conform to "a prescribed model that emphasized physical beauty, fertility and prospects for international security. Hence their representation by court painters in extravagant clothing, decorated with precious stones, and standing as monuments-and, sometimes, as advertisements for the prospective marriage partners of other courts. In these respects, they were mere pawns of court politics, with very little choice over how they were portrayed or whom they married." (Ingrao, 2002, 21) Their main purpose of existence was to produce male heirs. Quite often within royal marriages if females were unable to conceive or produce a male heir they were subjected to various forms of 'medical treatment' and testing. Never was it even contemplated that the problem was anything but that of the woman's. "Marriage festivals included operas, drama, ballet and music. Spectacular court festivals and theatre were employed to impress the ruler's subjects as well as other courts. The political element is reflected by the fact that the monarch or chief minister not only sponsored the events but personally influenced the artistic outcome by devising and directing the program." (Ingrao, 2002, 26) Likewise the court was a very structured hierarchy. The king was considered to be the father of his country. Everything within the court structure was ritualistic in nature. The ceremony of the court reflected decorum and stressed the importance of Catholicism;"the seventeenth-century emperors had entrusted the monarchy's fate to a close communion between crown, church and the monarchy's Catholic nobility." (Ingrao, 2002, 26) The architecture of the Baroque period was very elaborate, not just in public buildings and churches erected during the period, but also in homes built by the nobility of the era. These private dwelling were huge and took years if not decades for construction to be complete. Another notable feature was that nobility of the Baroque period kept separate living apartments for married couples. Husband and wife did not share a common bedchamber; rather, each had his or her own living quarters. Skokloster Castle whose construction commenced in 1654 is a prime example of the Baroque Period of architecture with its ornate facades and upward pointing features reflecting again the influence of the church on the architectural style of the day. Also important to note is that the court and royalty of the day viewed their homes to be extension of themselves. "The idea was to create a reflection of the world and a monument to himself." (Bergstrom, 2001, 36) See Figure 2 at the back of this work for a pictorial representation of the castle and note its traditional Baroque ornate detailing of the spires as a representation again of the importance of the church. Also included as Figure 3 is an example of the furnishing of the period and the ornate use of various metals, wood and fabric. This is a picture of the royal bedchamber at the castle which shows the veiled bed and various adornments in the room. Another area to consider when discussing the Baroque Period is philosophy. There were notable philosophers during this time period, one of the most notable being Descartes. However, there are many others during the Baroque Period that contemplated the totality of life during those times. One of these was German Priest and historian Jacob Brucker. In addition, he developed a system to categorize philosophers which is still used to a great extent today. One of Brucker's main points was that he made a distinction and separated religion from philosophy to a certain extent, but was unable to break way completely. "There are, Brucker states, two sources of truth. "One is the "innate light" or "human reason." The other is the (Christian) Revelation. In concord with Brucker's definition of philosophy above, philosophers make use of the first source of truth. There are, however, narrow limitations to the powers of human reason in regard to the understanding of all areas in the universe, wherefore human reason must be aided by Revelation, not only in order to grasp the truths about matters transcending the powers of human comprehension, but also in order to know what will make human beings happy. (Cantana, 2005, 76) In reviewing the various aspects of life, culture and arts during the Baroque Period it became obvious the undercurrent present in every aspect of life during the era was the church, particularly the Catholic Church. It had immense power and as an entity used its power to influence the direction of the arts, architecture and even politics of the day. Running throughout was the pious views espoused during the period but the more flamboyant elaborate elements of the arts could not be suppressed totally which were expressed in the elaborate, complex, insightful artistic presentations by various artists. The period has forever been immortalized by the legacy left behind by these artists in combination with the affluence and influence of the church. Works Cited Bergstrom, Carin M. "Skokloster Castle - One of the World's foremost Baroque Museums." Museum International Apr. 2001: 53:2. 36-40. Academic Search Premier. Galileo EBSCO Host. Hesperia, CA. 2 Jan. 2006 . Cantana, Leo. "The Concept 'System of Philosophy': The Case of Jacob Brucker's Histroriography of Philosophy." History & Theory Feb. 2005: 44:1. 72-90. Academic Search Premier. Galileo EBSCO Host. Hesperia, CA 2 Jan. 2006 . Giles, Patrick. "Le Maitre Florissant." Opera News Oct. 1999: 64:4. 42-48. Academic Search Premier. Galileo EBSCO Host. Hesperia, CA 2 Jan. 2006 . Ingrao, Charles W. and Thomas, Andrew L. "Piety and Patronage: The Empresses-Consort of the High Baroque." German History Feb. 2002: 20:1. 20-20 Academic Search Premier. Galileo EBSCO Host. Hesperia, CA 2 Jan. 2006 . Kimball, Roger. "Rubens Resplendent." National Review 14 Mar. 2005: 57:4. 50-51. Academic Search Premier. Galileo EBSCO Host. Hesperia, CA 2 Jan. 2006 . Rorato, Laura. "Lucy Revisited by Pin Di Silvestro in La Fuga, La Sosta." Romance Studies Jul. 2005: 23:2. 131-141. Academic Search Premier. Galileo EBSCO Host. Hesperia, CA 2 Jan. 2006 . Figure 1 Nicolaas Rubens Wearing a Coral Necklace, ca. 1619 (Kimball, 2005, 50) Figure 2 Skokloster Castle in the traditional Baroque Style (Bergstrom, 2001, 37) Figure 3 Royal Bedchamber - Skokloster Castle (Bergstrom, 2001, 37) Title: Skokloster Castle - one of the world's foremost Baroque museums. Authors: Bergstrom, Carin M. Source: Museum International; Apr2001, Vol. 53 Issue 2, p36-40, 5p Document Type: Article Subject Terms: *CASTLES *CULTURE *MUSEUMS *PALACES *HERITAGE tourism Geographic Terms: SWEDEN NAICS/Industry Codes: 7121 Museums, Historical Sites, and Similar Institutions Abstract: Carin M. Bergstrm is the director of Skokloster Castle, built in the seventeenth century in Sweden, and open to the public today as a Swedish state museum. Several aspects of the technical and practical decisions requisite for historic house museum management are presented in this article, particularly as regards building structure, book collections, metal objects and fabrics. [ABSTRACT FROM AUTHOR] ISSN: 1350-0775 Accession Number: 11691970 Persistent link to this record: http://search.epnet.com/login.aspxdirect=true&db=aph&an=11691970 Database: Academic Search Premier View Links: Search the catalog at GALILEO to display locations from Georgia Libraries Journal List (GOLD) Formats: CitationPDF Full Text(136K) 2006EBSCO Publishing.Privacy Policy - Terms of Use - Copyright Title: THE CONCEPT"SYSTEM OF PHILOSOPHY": THE CASE OF JACOB BRUCKER'S HISTORIOGRAPHY OF PHILOSOPHY. Authors: CATANA, LEO1 Source: History & Theory; Feb2005, Vol. 44 Issue 1, p72-90, 19p Document Type: Article Subject Terms: *HUMANITIES *ONTOLOGY *PHILOSOPHY *PHILOSOPHY -- History *PRINCIPLE (Philosophy) People: BRUCKER, Jacob Abstract: In this essay I examine and discuss the concept"system of philosophy" as a methodological tool in the history of philosophy; I do so in two moves. First I analyze the historical origin of the concept in the seventeenth and eighteenth centuries. Thereafter I undertake a discussion of its methodological weaknesses-a discussion that is not only relevant to the writing of history of philosophy in the seventeenth and eighteenth centuries, but also to the writing of history of philosophy in our times, where the concept remains an important methodological tool.My first move is to analyze Jacob Brucker's employment of the concept in his influential history of philosophy,Historia critica philosophiae, dating from 1742-1744. To Brucker, a"system of philosophy" is characterized by the following four features: (a) it is autonomous in regard to other, non-philosophical disciplines; (b) all doctrines stated within the various branches of philosophy can be deduced from one principle; (c) as an autonomous system it comprises all branches of philosophy; (d) the doctrines stated within these various branches of philosophy are internally coherent. Brucker employed the concept on the entire history of philosophy, and he gave it a defining role in regard to two other methodological concepts, namely"eclecticism" and"syncretism," which he regarded as more or less successful forms of systematic philosophy.My second move is to point out the weakness of the concept of"system of philosophy" as a methodological tool in the history of philosophy. I argue that the interdisciplinary nature of much premodern philosophy makes Brucker's methodological concept"system of philosophy" inadequate, and that we may be better off leaving it behind in our future exploration of premodern philosophy. [ABSTRACT FROM AUTHOR] Author Affiliations: 11University of Copenhagen, Denmark ISSN: 0018-2656 DOI: 10.1111/j.1468-2303.2005.00309.x Accession Number: 15684072 Persistent link to this record: http://search.epnet.com/login.aspxdirect=true&db=aph&an=15684072 Database: Academic Search Premier View Links: Search the catalog at GALILEO to display locations from Georgia Libraries Journal List (GOLD) Title: Le Maitre Florissant. Authors: Giles, Patrick Source: Opera News; Oct99, Vol. 64 Issue 4, p42, 6p, 3c Document Type: Interview Subject Terms: *CONDUCTORS (Music) *MUSIC -- 17th century People: CHRISTIE, William -- Interviews Abstract: Interviews William Christie, an American harpsichordist, conductor and teacher. Family background; Views on the standard American concert pitch and other instruments; Discussion on Baroque music; Opinion on performances of Baroque repertory. Full Text Word Count: 2396 ISSN: 0030-3607 Accession Number: 2387505 Persistent link to this record: http://search.epnet.com/login.aspxdirect=true&db=aph&an=2387505 Formats: CitationPDF Full Text(1.5MB) 2006EBSCO Publishing.Privacy Policy - Terms of Use - Copyright Title: Piety and Patronage: The Empresses-Consort of the High Baroque. Authors: Ingrao, Charles W. Thomas, Andrew L. Source: German History; Feb2002, Vol. 20 Issue 1, p20, 24p Document Type: Article Subject Terms: *ALLIANCES *KINGS & rulers AUSTRIA Abstract: Characterizes the different empresses-consort of the Habsburg Holy Roman emperors in Austria. Emphasis placed on physical beauty; Importance of ability to produce male heirs to legitimize dynasty; Contributions in securing political alliances between countries. ISSN: 0266-3554 Accession Number: 6591310 Persistent link to this record: http://search.epnet.com/login.aspxdirect=true&db=aph&an=6591310 Database: Academic Search Premier View Links: Search the catalog at GALILEO to display locations from Georgia Libraries Journal List (GOLD) Formats: CitationPDF Full Text(226K) Piety and Patronage: The Empresses- Consort of the High Baroque Charles W. Ingrao (Purdue University) and Andrew L. Thomas (University of Arizona) We know a great deal about the . fteen Habsburg Holy Roman emperors who reigned in almost uninterrupted succession from Frederick III (1440-93) to Francis II (1792-1806). At last count, they have been the subject of nearly a hundred biographies, many in multiple volumes. We are, however, much less well informed about the twenty empresses-consort who reigned beside them. The great exception is that grande dame of Austrian history, Maria Theresa, the one woman who stands out in the dynasty's political history, public monuments and popular lore. But the 'great empress' was not only the consort of Francis Stephen of Lorraine (1742-65) but, for four eventful decades, the sovereign, hereditary ruler of the Habsburg lands as reigning queen of Bohemia, Hungary and a host of other dominions. To a certain extent the neglect of the previous and subsequent empressesconsort re ects their regimented and subsidiary role at the Habsburg courts, where they were subject to emotional neglect and even humiliation. That does not, however, mean that they were historically insigni. cant. At the very least, they represented a highly visible source for understanding court culture and values; moreover, they did play an important role at the centre of the Habsburg realm, both culturally and, on occasion, politically. As this study will make clear, these women were hardly passive participants in late baroque Austrian court life. Rather, their history con. rms the observations made by the founder of gender history in Germany, Heide Wunder, that the cosmological position of women during the early modern period must be understood within the mentalite of the period: 'Women and men attained their self reference and sense of self-worth not "from themselves", but from their integration into household, generational unit, work and profession, from their shared orientation toward secular "honour and piety" and a life after death.'1 This was certainly the case with the three empresses-consort of the High Baroque: Eleonore of Pfalz-Neuburg (1655-1720), who was the third and last wife of emperor Leopold I (1658-1705), and their two sons' consorts, 1 Heide Wunder, He is the Sun, She is the Moon: Women in Early Modern Germany (Cambridge, 1998), p. 207. Translated from the German edition by Thomas Dunlap: 'Er ist die Sonn', sie ist der Mond': Frauen in der Fruhen Neuzeit (Munich, 1992). German History Vol. 20 No. 1 10.1191/0266355402gh241oa 2002 The German History Society Title: Rubens Resplendent. Authors: Kimball, Roger Source: National Review; 3/14/2005, Vol. 57 Issue 4, p50-51, 2p, 1c Document Type: Article Subject Terms: *ART -- Exhibitions *ART museums *ART, Baroque Geographic Terms: NEW York (N.Y.) NEW York (State) NAICS/Industry Codes: 7121 Museums, Historical Sites, and Similar Institutions People: RUBENS, Peter Paul Abstract: Reviews a show of drawings by the Baroque Flemish master Peter Paul Rubens (1577-1640) at the Metropolitan Museum of Art in New York City through April 3, 2005. ISSN: 0028-0038 Accession Number: 16330628 Persistent link to this record: http://search.epnet.com/login.aspxdirect=true&db=aph&an=16330628 Database: Academic Search Premier View Links: Search the catalog at GALILEO to display locations from Georgia Libraries Journal List (GOLD) Formats: CitationPDF Full Text(271K) Title: 'THE COLOUR OF LIGHT': CARAVAGGIO'S THE BURIAL OF ST LUCY REVISITED BY PINO DI SILVESTRO IN LA FUGA, LA SOSTA. Authors: Rorato, Laura1 Source: Romance Studies; Jul2005, Vol. 23 Issue 2, p131-141, 11p Document Type: Article Subject Terms: *BAROQUE literature *PAINTING Reviews & Products: LAFUGA, la sosta (Book) People: CARAVAGGIO, Michelangelo Merisi da CALABRESE, Omar DI Silvestro, Pino Abstract: Through the analysis of Pino Di Silvestro's first novel, La fuga, la sosta, in the context of a newly discovered interest in the life and works of Caravaggio that goes beyond the world of art historians, this article proposes to explore the often suggested link between the baroque and postmodernism, and to consider how some features of the baroque, as suggested by the Italian semiotician Omar Calabrese, allow the writer to use the past creatively and, therefore, to renew it. It is also felt that Caravaggio's style of painting, that is his ability often to turn the spectator into a protagonist, seems to turn art into a possible tool for changing the world, thus appealing to those contemporary writers like Di Silvestro who want to dispel the apocalyptic aura that surrounds postmodernism, an age too often depicted as devoid of values. This article will also show how, by focusing on 'The Burial of St Lucy', now considered to be one of Caravaggio's most revolutionary paintings, Di Silvestro, in line with the philosophers of the 'pensiero debole', can present art as 'inauguration' or emergence, whilst at the same time celebrating his native Syracuse, a city battered by natural catastrophes which epitomises the transitory nature of all forms of life but which, like the phoenix, can rise anew from the ashes. [ABSTRACT FROM AUTHOR] Author Affiliations: 1University of Wales, Bangor ISSN: 0263-9904 DOI: 10.1179/026399005x58823 Accession Number: 18045924 Persistent link to this record: http://search.epnet.com/login.aspxdirect=true&db=aph&an=18045924 Database: Academic Search Premier View Links: Search the catalog at GALILEO to display locations from Georgia Libraries Journal List (GOLD) Formats: CitationPDF Full Text(783K) Romance Studies, Vol. 23 (2), July 2005 'THE COLOUR OF LIGHT': CARAVAGGIO'S THE BURIAL OF ST LUCY REVISITED BY PINO DI SILVESTRO IN LA FUGA, LA SOSTA LAURA RORATO University of Wales, Bangor Through the analysis of Pino Di Silvestro's first novel, La fuga, la sosta, in the context of a newly discovered interest in the life and works ofCaravaggio that goes beyond the world of art historians, this article proposes to explore the often suggested link between the baroque and postmodernism, and to consider how some features of the baroque, as suggested by the Italian semiotidan Omar Calabrese, allow the writer to use the past creatively and, therefore, to renew it. It is abofelt that Caravaggio's style of painting, that is his ability often to tum the spectator into a protagonist, seems to tum art into a possible tool for changing the world, thus appealing to those contemporary writers like Di Silvestro who want to dispel the apocalyptic aura that surrounds postmodemism, an age too often depicted as devoid of values. This article will also show how, by focusing on 'The Burial of St Lucy', now considered to be one of Caravaggio's most revolutionary paintings, Di Silvestro, in line with the philosophers of the 'pensiero debole', can present art as 'inauguration' or emergence, whilst at the same time celebrating his native Syracuse, a city battered by natural catastrophes which epitomises the transitory nature of all forms of life but which, like the phoenix, can rise anew from the ashes. This article analyses Pino Di Silvestro's first novel. La fuga, la sosta, published in October 2002.' Previously the author was mainly known for his activities as a painter and engraver, and as a lecturer in German literature. LafUga, la sosta marks the beginning of a new phase in his interests and represents a celebration of the talent of Carava^o. What makes this novel particularly fascinating is the fact that it is an example of a newly discovered interest in a painter whose influence, no matter how important and widespread it had been during his lifetime, vanished rather quickly after his death and whose name was almost entirely forgotten until the beginning of the twentieth century. The other interesting aspect is that this process of rediscovery goes beyond the world of art historians. According to Formichetti, the image of Caravaggio as the 'pittore maledetto e assassino, che muore giovane, arso daUa febbre dopo una vita errabonda e disperata' has always been a fertile subject for novelists.^ However, the popularity of the Lombard painter as subject matter Address correspondence to Laura Rorato, Department of Modem Languages, University of Wales, Bangor, College Road, Bangor LL57 2DG, UK 2005 University of Wales Swansea DOI: 10.1179/026399005x58823 Read More